PATTERN Magazine Spring 2021, vol. 19

VOLUME 19

+ FEATURING A’RON EASTON, JACQUELINE ANDERSON, LINDSAY ADLER,

FASHIONING A COMMUNITY.

LASTAR JACKSON, CAROLINE BAKER AND OTHERS

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EDITOR’S LETTER

FASHION: THE BELLWETHER OF CHANGE WHAT DOES CENTRAL INDIANA HAVE TO OFFER THE WORLD? A WAVEmaking pool of talent. I’m reminded of it every time we publish a new issue of PATTERN, stage an event, or start a new venture.

2021

PLANET PATTERN HAS BEEN SPINNING FAST HERE IN . WE RAN St’Artup317 from March Madness to the Indy 500, dispatching makers out to the streets with their creations. We threw open the doors to Paradox, our new Broad Ripple event space, for multiple of-the-moment gallery shows. And we turned StitchWorks, our industrial sewing program, into a registered apprenticeship. In partnership with RecycleForce, we’re training the inaugural class soon.

AT PATTERN, WE’VE NEVER BEEN ACCUSED OF THINKING SMALL. THAT’S WHY I’M THRILLED TO ANNOUNCE the launch of a new entity meant to engender new respect and new resources for creatives in Central Indiana. It’s called the Creative Economy Leadership Alliance, or CELA for short. CELA’s goal is to finally bring all the creative industry verticals, including fashion, under one umbrella, with the goal of staking out a prominent presence in the regional economic development landscape. Expect to hear exciting things, and visit the website to subscribe for updates!

I’M ALSO DELIGHTED TO BE WORKING WITH DENISHA “DLANG” FERGUSON, EXECUTIVE DIRECTOR OF THE Indiana Fashion Foundation, to host the Emerging Fashion Designer competition showcase runway show on Monument Circle on August 21 as part of this year’s Indiana Fashion Week. Indiana Fashion Week recently joined the inaugural cohort of CFDA Connects programming network that supports regional fashion weeks. The August show is part of the Shining a Light Arts & Cultural Infusion presented by Downtown Indy, Inc. AS ALWAYS, AND ESPECIALLY DURING THE UPHEAVALS OF THE LAST YEAR, FASHION IS A BELLWETHER OF change. From inclusivity to sustainability, the new fashion industry mindset of both consumers and brands is compelling to see. You can feel that new energy popping off the pages of this issue. So savor the summer, and the bountiful output of Indy’s creatives.

ONWARD & UPWARD, PHOTO ©BENJAMIN BLEVINS

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PATTERN VOLUME NO. 19

POLINA OSHEROV_EDITOR-IN-CHIEF

C re at ive Ec onomy Leader shi p Alli ance

“Creative people don’t just cluster where the jobs are.

They cluster in places that are centers of creativity and where they like to live.”

— Ric hard F lo rida

Subscribe today c re ati veec onomyalli ance.c om

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FASHIONING A COMMUNITY

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EDITORIAL

Editor & Creative Director Polina Osherov Design Director Emeritus Kathy Davis Design Director Lindsay Hadley New York Editor Janette Beckman Copy Editors Emily Kibling Jessie Hansell Anne Laker Staff Photographer Jacob Moran

DESIGNERS

John Ilang-Ilang Amy McAdams Julie Makepeace

PHOTOGRAPHERS

Stacy Able Esther Boston Jay Goldz Julian J. Jones Dauss Miller Chris Newell Francis Nwosu Polina Osherov Brandon Pettit Vanessa Soto Jeanie Stehr Brooke Taylor Christopher Whonsetler Callie Zimmerman Yishaq

WRITERS

Malina Simone Jeffers Crystal Hammon Carolyn Hadlock Anne Laker Ryan Lowe Euan Makepeace Shauta Marsh Monica Sallay

STYLISTS

Sariah Borom Julie Makepeace Samantha Ripperger Mackie Schroeter Laura Walters

RETOUCHER

Wendy Towle

INTERNS

Photography Leo Soyfer

PATTERN IS GRATEFUL TO THE FOLLOWING FUNDERS AND SPONSORS FOR THEIR SUPPORT:

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PATTERN VOLUME NO. 19

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CONTENTS PATTERN ISSUE NO. 19 patternindy.com

WORDS EDITOR’S LETTER, 2 CONTRIBUTORS, 8 JACQUELINE ANDERSON AND HER NSFW FIGHT FOR GENDER EQUALITY, 20 Q+A ESTHER BOSTON, 24 IN HIGH REGARD, 38 THE RIOT ACT, 44 SUPER NOVA, 58 VINTAGE-INSPIRED, FUTURE-FACING, 68 BEAUTIFUL THINKER, 82 FASHION-FORWARD: INDY’S MOST STYLISH, 88 A’RON EASTON, 110 Q+A LASTAR JACKSON, 118 OP-ED, 136

IMAGES ORNAMENTAL NOTE, 10 COPY CAT, 26 SOCK CANDY, 54 IN FULL BLOOM, 60 HAIKI HAIKU, 74 ROOM SERVICE, 102 SHOW + PASTEL, 122 TURNED ON AND LIT UP, 130 ON THE COVER Hannah Nassar (Rune Models) Photography by Esther Boston Style by Laura Walters for Style Riot Makeup by Nikki Brown Hair by Dee Lanee Sweatshirt Kenzo Paris Button up Alice & Olivia Skirt Leonard St, Melbourne Socks Vintage Heels Kelly & Katie ON THIS PAGE Katie Mason (10MGMT) Creative DIrection by Lindsey Macyauski Photography by Chris Whonsetler Assisted by Samantha Ripperger Hair + Makeup by Jessica Winchell Top Amur Pants Alice+Olivia Shoes HAIKI 602

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PATTERN VOLUME NO. 19

Circle City Industrial Complex, 1125 E. Brookside Ave, Indianapolis, Indiana Product Development | Cut & Sew | Industrial Sewing Classes

Sustainable Fashion is the Future.

“Our priority is to connect small designer-entrepreneurs to resources and production capacity, as well as teach the skill of sewing to a new generation of talent.”

Polina Osherov Director of StitchWorks

stitchworksindy.com 7

CONTRIBUTORS

IF YOU COULD BE ANY FASHION ACCESSORY, OR PIECE OF CLOTHING, WHAT WOULD IT BE AND WHY? JULIE SAMANTHA MAKEPEACE RIPPERGER

CHRIS NEWELL

I WOULD BE A FANCY, CHUNKY SNEAKER BECAUSE THEY ARE PRACTICAL AND ONLY SOMETIMES CUTE.

I WOULD BE A PAIR OF WARM-TINTED POLARIZED SUNGLASSES. IT IS A PERSPECTIVE I FEEL CONTAINS A POSITIVE SENSATION DUE TO THE COLORS.

I WOULD BE A LIGHT PURPLE BLAZER! IT’S MY FAVORITE COLOR AND I LOVE THE VERSATILITY AND STRUCTURE OF A BLAZER.

Julie Makepeace (she/her) is a Graphic Designer currently working for Weissman

Samantha Ripperger (she/her) is a social

Theatrical Solutions. Aside from graphic

media strategist, writer, and stylist. She

Christopher Newell (he/him) is an

design, she has a wide array of experience

recently moved to NYC to start the next

Indianapolis-based photographer

working as a stylist, project manager and

chapter of her life with her sister and

who recently Graduated with a BFA in

content creator. She has traveled with

her cat named Cotton. In her free time,

Photography. He is currently working and

PATTERN to LA, New York and Miami for

Samantha loves spending time with family making artwork in his free time.

various editorial shoots. When she isn’t

and friends, baking, and embroidering.

@_CHRISNEWELL_

sitting in front of her computer working, she is probably sitting on a patio drinking a nice, cold beer with her cat, Evelyn.

@THEJULIEVALENTINE

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PATTERN VOLUME NO. 19

@SAM_RIPP

SARIAH BOROM

BROOKE TAYLOR

I WOULD BE A PASTEL PINK STUDDED MARY JANE PLATFORM.

I WOULD PROBABLY CHOOSE A BELT OR HARNESS. I FEEL LIKE THEY ARE A KEY ELEMENT TO MOST OUTFITS TO EITHER DRESS IT UP OR DOWN. I USUALLY PAIR A BLACK LEATHER HARNESS TO A DRESS THAT DOESN’T FIT QUITE HOW I WANT IT TO, AND THE HARNESS COMPLETELY TRANSFORMS THE OUTFIT.

Sariah Borom (she/her) is the styling & special projects Fellow at PATTERN. She is also a freelance wardrobe stylist. In her free time, Sariah enjoys dancing to house music.

@__SRIRACHA_

JEANIE STEHR

I WOULD BE A BRIGHT AND COLORFUL BANDANA! THERE ARE SO MANY DIFFERENT WAYS TO WEAR IT, AND IT IS A QUICK AND EASY WAY TO STAND OUT IN A CROWD! Jeanie Stehr (she/her) is a fashion photographer who recently graduated from Butler University with a degree in Art + Design. Jeanie’s free time consists of

Brooke Taylor (She/Her) is a former

painting, petting her cat, and making tik

PATTERN intern and freelance

toks with her friends!

A PUZZLE TOP WITH SHEER PANELS (LOOK #36 ACCORDING TO VOGUE) FROM ALEXANDER MCQUEEN’S READYTO-WEAR SPRING/SUMMER 2001 COLLECTION TITLED ‘VOSS”, BECAUSE IT ENCAPSULATES HOW CREATIVE MCQUEEN WAS, NOT ONLY WAS THE PUZZLE MISSING MANY PIECES BUT IT SHOWS THAT NOT EVERY PIECE OF CLOTHING HAS TO BE MADE FROM FABRIC. Ryan Lowe is an editor at High Fashion

photographer based out of Indianapolis.

She graduated from Herron School of

RYAN LOWE

@JJEAANNNN

Talk. He is currently working on the

Art + Design in 2018 with a degree in

second zine for HFT. In his free time, he

photography. She also has a passion

researches fashion by reading books,

for cocktails. When she’s not working

magazines, sourcing photos online, and

on creative projects you’ll most likely

conducting interviews.

find her behind a few of Indy’s favorite cocktail bars.

@RYVNLOVVE

@JUSTANOTHERVIRGO

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O R N A M E N T A L

N O T E S

PHOTOGRAPHY BY JULIAN J. JONES (THE ROCK AGENCY) PHOTOGRAPHY ASSISTANT JAMAR MITCHELL STYLE BY SARIAH BOROM (AESTHETIC ARTIST AGENCY) STYLE ASSISTANT SHELTON MEYERS HAIR + MAKEPUP BY GHOST ARTISTRY (THE ROCK AGENCY) MODEL JASMINE JADE (THE ROCK AGENCY) RETOUCHER MAARTEN DE LAET WORDS BY ANNE LAKER

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BLAZER CULPOS X INC, MACY’S SKIRT ALFANI, MACY’S

S O L A R

B U T T E R

C L A Y- G R E Y

W I C K E D

A R M O R

M A R S - W A L K I N G

S H I M M E R

W I T H

W I T H

C H A L K Y

M A G I C

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D A I N T Y

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H A I L

S T O R M S

P E R F O R A T E

P U N C T U A T E ,

S H I M M Y

C O L U M N S

F L A P P E R - Q U E E N

O F

D O W N

T H E

C O O L

NECK PIECE ANDREA MONTAYA DRESS SYL MARKT SHOES SAM EDELMAN, MACY’S

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TOP JACKET SWABY REBEL UNDER JACKET SYL MARKT TROUSERS SYL MARKT

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M I N E

Y O U R S E L F

R A D I A T E ,

S W O O P

T H E N

A N D

F O R

M E T A L S

R E V E R B E R A T E

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R AV E N

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D I S T A N T

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B O B

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G A L A X I E S

W I T H

P A R A D O X

T H E

A X I S

TOP ALFANI, MACY’S CROPPED TROUSERS SYL MARKT BOOTS INC INTERNATIONAL CONCEPTS, MACY’S

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EARRINGS ANDREA MONTAYA BLAZER CULPOS X INC, MACY’S TROUSERS ANDREA MONTAYA

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S P R I N G

P R I C K L E S

W A T E R I N G

W I T H

B U S I N E S S -Y

U N D A U N T E D

M O G U L

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R A I N

B L O O M S :

L I L A C S

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JACQUELINE ANDERSON AND HER

NSFW FIGHT FOR GENDER EQUALITY WORDS BY SHAUTA MARSH SUBMITTED IMAGES

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PATTERN VOLUME NO. 19

In Jacqueline Buckingham Anderson’s house, if someone says, "Wow, that's so huge pussy of you," it means, “That’s damn awesome and highly courageous.” So move over Big Johnson, it’s time to celebrate Huge Pussy, a new NSFW clothing line and philanthropic effort aimed at empowering women. “I mean, really,” said Anderson. “Designing it was indeed a huge pussy move.”

A private art advisor, philanthropist, former first lady of the Indianapolis Museum of Art, creator of the sketch comedy “The Box,” and advocate for female empowerment, Anderson is constantly evolving. Her life’s goal is simple — make the world a better place.

While in Indianapolis from 2006 to 2011, she installed two million square feet of artwork to create the healing environments for IU Health’s largest hospitals.

A curvaceous stunner, Anderson was hard to miss in any room. Especially in the more conservative Indianapolis social scene. Stylish and completely unselfconscious, she was roundly regarded as a trophy wife. She was far from it. Both Anderson and her ex-husband Max Anderson made Indianapolis art aficionados want and demand more for the city.

Now, when not building art collections for her clients, she is a dedicated philanthropist who mentors women to find strength in themselves. As she talks about her life’s work, you hear pride and love when she pauses to say her greatest accomplishment is being mother to her children, Chase and Devon.

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After leaving Indianapolis, she traveled around the world with her daughter Devon and started working on a master’s degree at Harvard University where she studied neuroscience and lifestyle medicine. She also trained at Stanford's Center for Compassion and Altruism Research and Education Center and co-founded a wellness center in downtown Dallas. There, she created a year’s worth of programming.

Shortly after returning to New York, she started writing “The Box.” She also directed, produced, and starred in this sketch comedy series that used humor to address the harsh reality of inequalities women face. Due to the censorship issues with the word “pussy,” the series is no longer available on Amazon.com.

“When traveling with my daughter, part of our focus was studying the quality of life available for women around the world, where women have equal rights to economic empowerment, freedom of speech, and freedom over their bodies. In researching the difficult subject of how women are shamed for their bodies and for sexuality in other countries, I never thought I would experience censorship to the degree that I have here in the U.S.,” she said. “I was researching and writing about genital mutilation, bride burning, and using rape as a weapon of war, but I realized that the shaming of the female body runs through every culture, including ours.”

While tackling a serious topic through comedy is difficult to pull off, Anderson succeeded with several laugh-out-loud scenes in the series, including one in the episode “Big Balls” where Anderson plays a plastic surgeon by the name of Dr. Balzac. A man goes in to see Dr. Balzac about several options for testicle implants. Through comedy, “The Box” challenges gender definitions and assumptions that often remain unquestioned and unchanged.

“Season one reverses the shame associated with the female body and sexuality. My goal was to bring awareness to those accepted gender norms that shame women to create a new mindset that empowers the female body and mind. And those are the kind of gender norms we take for granted,” said Anderson. “Like the definition of the word ‘pussy’ to mean weak or the assumption that needing extra-large tampons is shameful.

Each sketch tackled a different accepted norm that has been disempowering and reversed it. In the world of ‘The Box,’ pussy means strong, and magnum-sized tampons are sexy. It was my intention to empower women, and this is my intention in being an advocate for women as a mentor and philanthropist. After researching all that has kept women feeling ashamed about their bodies throughout history, I wanted to empower women to be bold, live large, and take revolutionary risks. And making ‘The Box’ was one of those challenges for me.”

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PATTERN VOLUME NO. 19

I WANT PUSSY FLAGS WAVING PROUDLY. SO IT'S JUST NORMAL, SO IT’S NOT A BAD THING. IT’S JUST NORMAL. IT’S NORMAL TO BE GAY. IT’S NORMAL TO HAVE A PUSSY. THERE WE GO.” While getting the “The Box” (though briefly) on Amazon, Anderson encountered censorship issues around the word “pussy,” which was deemed by Amazon to be offensive.

“I honestly couldn't believe it. There is no cursing, nudity, or sex in the show whatsoever. We are talking about a five letter word that I was not allowed to use in a title. This is a feminist comedy and here I was being blocked by an old patriarchal paradigm. I said, ‘Wait, are you kidding?’ And no, they were not. In order for my show to go on Amazon, I had to change the title of the sketch called ‘Huge Pussy’ to ‘The Huge P Word’ as just the word itself was considered offensive content.” The episode portrays a world where calling somebody a pussy is like giving them the biggest compliment in the world,” she said. "I looked it up in the dictionary and sure enough, in the dictionary it says right there: ‘vulgar slang for women's genitals, weak, cowardly, or effeminate.’

I looked up ‘balls’ right after and found ‘courage or nerve’ in the definition. I looked at other titles available on Amazon for context, and there were shows called ‘Balls,’Balls To The Wall,’ ‘Dick,’ ‘Good Dick,’ and ‘Dick Night.’ And others that maybe I could be offended by like “‘Jailbait Babysitter’ or ‘All American Orgy.’”

Still, her series was accepted into more than a dozen film festivals, which became the impetus for what became a feminist product line.

“Big Balls’” (one of her episodes from “The Box” series that was not banned on Amazon, despite the title) was being shown on Hollywood Boulevard. “I took my daughter to the opening.

It was her spring break and I thought, ‘let's go, but let's write a new definition for pussy first.’ I wrote down on a piece of paper: orgasmic, other worldly, resilient, flexible, life giving humanity vessel: a huge pussy holds the future,” said Anderson. “To me, these descriptors were a much better definition than ‘vulgar.’ Then, I created a prototype and had it printed on a tote bag. I carried it on the red carpet with my daughter in Hollywood. It was a very empowering moment because here we are at the premier of ‘Big Balls’ which Amazon had no problem with, but we were celebrating pussy and the new definition with our tote bags.”

As she and her daughter walked the red carpet and then along Melrose Avenue carrying Huge Pussy totes, people began to ask where they got their bags. “We couldn’t walk ten feet and not be stopped,” said Anderson. “It had a celebratory quality that made people genuinely happy.”

So Anderson got to work creating a line of over fifty Huge Pussy products. But again, she encountered censorship and the internet shut her down.

“After hiring a team and investing in an effort towards gender equality, the Huge Pussy products which bear only the words ‘huge pussy’ were banned from advertising on all platforms including Facebook, Instagram, Google, and Snapchat. I compared it to make sure this was indeed a violation of freedom of speech by putting a product that had ‘balls’ written on it instead of ‘pussy,’ and that was allowed. This fear ran really deep,” said Anderson. “Even having a Google email address with pussy in it is not allowed. I tried to register hugepussylife@ gmail.com, and the result was ‘This username is not allowed.’ Then I tried Bigballslife@gmail. com. ‘This username is taken.’ It was devastating since I had to let go of my team who worked very hard, but I won’t back down when a challenge is worthy of the effort. My main focus is not selling products, nor will it ever be. But it was important to have the products out in the world to reverse the shame around it. That is the point of activist art in the first place — to change culture. I didn’t set out to create a line of products. I wrote a feminist television series, but when I realized how terrified the world was of the word ‘pussy,’ it just seemed not only ridiculous, but harmful to women. How could I look at my son and say, ‘what you have makes you strong and courageous’ and look at my daughter and say, ‘what you have makes you weak and vulgar?’”

Anderson gives proceeds from the show and sales of Huge Pussy products back to organizations she cares about like Her Future Coalition, an organization fighting sex trafficking, as well as organizations dedicated to freedom of speech. Now she is partnering with artists to create special editions of the products to maximize the awareness and philanthropic efforts to support women in need.

hugepussystore.com

“I'm not going to single any one country out specifically, but I think people are pretty aware where women have fewer rights. I could be killed for making a film about female empowerment or carrying a bag with an empowering definition of the word ‘pussy’ on it in other places, but here in the United States, I'm banned from putting my feminist television series on Amazon and banned from advertising a feminist product line. That is blocking a woman’s right to our First Amendment, as well as blocking her from economic empowerment, and that is what has kept women down. We are further behind than we realize because of antiquated notions about female sexuality.”

But why Huge Pussy?

Why not just Pussy? Anderson believes that the female body and the female mind have been encouraged to be small. So having the two words together is refusing to be small and refusing to be shamed.

“The Huge Pussy tote bag wasn't something I was nervous for my daughter to be carrying around New York City,” said Anderson. “A bag that says Huge Pussy is like carrying a massive weapon meant to empower women. It says, ‘I will not back down. I will not be shamed.’ I mean, if you're a man setting out to assault a woman, you're not going for the woman that has a tote bag that says ‘Huge Pussy’ across it. Absolutely not. You don’t want to mess with her.”

Anderson wants to change the way we think and feel about the word pussy and ourselves as women.

“I remember when calling someone gay was used as an insult, like ‘oh, that's so gay.’ Well, let's now look at gay pride, the companies, the people, and the support around it. That's what I want for Huge Pussy. I want pussy flags waving proudly. So it's just normal, so it's not a bad thing.

It's just normal. It's normal to be gay. It's normal to have a pussy. There we go.” ✂

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PATTERN VOLUME NO. 19

ESTHER BOSTON. PHOTOGRAPHER. COLLABORATOR. DREAMER. WORDS BY POLINA OSHEROV PHOTOGRAPH BY CALLIE ZIMMERMAN It’s been exactly ten years since Esther Boston launched her photography business, having graduated from Herron School of Art and Design. Since that time, she’s worked with hundreds of clients, from small business owners to models to national brands. Boston has also contributed beautiful fashion photography to every single issue of PATTERN magazine. A new mom, Boston is still figuring out how to balance work, life, and motherhood in the post-COVID world, but as things return to normal, she is looking forward to the continued growth of her business and the opportunity to do more creative projects.

POLINA OSHEROV: I think I know the answer to this, but how long have you been a photographer?

ESTHER BOSTON: When I was thirteen, my dad was getting rid of an old Vivitar film camera he’d had in college and he gave it to me. I really fell in love with the process. The film rewind crank didn’t work very well so I wasted a lot of film, but shooting film also made me slow down and really notice things around me. In high school, I had no clue what I wanted to study in college; I just knew that I liked to be creative. On a whim, I applied to Herron School of Art and Design’s photography program. It didn’t take me too long to realize that being a fine art photographer was not going to help pay the bills, and also, that I wasn’t super interested in fine art photography in general. I still loved to take photos though so I started looking for people who were shooting the things that I wanted to shoot - fashion and portraiture. That’s how I found someone called Polina. (laughs) PO: Ten years! I knew it’s been a while, but that’s crazy!

I remember getting introduced to you by Steve Cassidy, a photographer whose studio space I was sharing at the Stutz. You started out assisting him. Then, I think pretty quickly switched over to assisting me.

EB: Yes! You hired me even though I broke your fan in the studio. I was so nervous you wouldn’t want to work with me after that.

PO: No way! I didn’t think it was a big deal at all, and you turned out to be the best assistant anyone could have asked for. I miss those days!

EB: Me too! So many good times and great memories!

PO: You’ve come a long way in ten years. Hundreds of shoots, a very successful business, and a great reputation with local agencies and businesses. You’ve done a bunch of fashion photography in that time, a lot of it for PATTERN and also Indy Monthly. Do you ever wish that you’d moved somewhere else so that you could focus more on fashion photography and make a living doing that instead of the less exciting commercial work?

EB: It’s definitely crossed my mind over the years, though not so much because of the money but because of wanting to have more options. More options with the clothing selection, access to a bigger talent pool, more interesting locations. To be honest though, some months I get so busy with the commercial work that the fashion stuff falls by the wayside, so I’m okay with where I am right now.

PO: What type of client usually presents the most interesting projects outside of fashion?

EB: Usually small businesses in need of a library of images to serve all of their marketing needs are the most fun to work with. It’s the projects where I get to shoot the team portraits, the product, the office, and then some candid behind-the-scenes photos of people in their work environment that require me to wear multiple hats of an art director, a stylist, and a photographer. These are usually projects that take longer to put together, and there are more conversations and planning and brainstorming to ensure that you get all the imagery that’s needed and

that they fully capture that company’s personality. I love those!

PO: In the last five years, I feel like there’s been an explosion of people who call themselves photographers.

Do clients even care to hire professional photographers anymore and do they even know the difference between those who take photos - which literally can be anyone with a smartphone - and professional photographers?

EB: I think once someone works with a professional photographer versus someone who just knows how to take photos, they certainly can tell and appreciate the difference because it’s pretty significant, from how you communicate with clients — to how you prepare for a shoot, to what you bring with you to the set, to how you deliver the final files. There’s a right way and a wrong way to do all these things, and it’s not always obvious.

A client might say, “Hey. We need team headshots here in this office. Show up on Tuesday morning at 9 a.m., and we’ll be ready for you.” If all you’ve ever done is take pictures of your friends outdoors during the golden hour, you might say, “Great! See you then!” Then you’re going to get there, and realize that they’re putting you in a 10x10 windowless office with some lovely fluorescent lighting, a desk, a chair, a bookshelf, and barely enough room to turn yourself around. Meantime, all you brought was a Speedlite and a reflector. You can imagine how great those headshots are going to look. (laughs) PO: Where do you look for inspiration when planning a creative fashion shoot, especially when you’re feeling uninspired?

EB: Usually what helps me when I’m in a creative rut is watching music videos. There’s a lot more to look at than just looking at still images. I love to study the lighting and how it’s being used to create a certain type of mood. And then of course the music itself helps spark inspiration as well. ✂

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PHOTOGRAPHY BY POLINA OSHEROV CAT-OGRAPHY BY STACY ABLE STYLE BY LAURA WALTERS FOR STYLE RIOT STYLE ASSISTANT SAM RIPPERGER SECOND STYLE ASSISTANT SOPHIA SENESE MAKEUP BY KATHY MOBERLY HAIR BY PHILIP SALMON DESIGN BY JULIE MAKEPEACE

BLOUSE WITH RUFFLE COLLAR VINTAGE OSCAR DE LA RENTA RUFFLE POPLIN TOP JOHANNA ORTIZ PARROT PINS RIPLEY AUCTION PUFF-SLEEVE MINI DRESS WANDERING SILK SAFARI SHORTS WORTH

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LEO OWNER: CHELSEA VAN DER MEER | BREED: DOMESTIC LONGHAIR | MODEL: AUJA S. (ARQUETTE AGENCY) WHICH CELEBRITY DOES YOUR CAT MOST RESEMBLE? A young Bon Jovi IF YOU HAD TO GUESS, WHICH FASHION DESIGNER WOULD YOUR CAT WEAR? Christian Dior

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PHOEBE

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OWNER: PAM ALLEE | BREED: DILUTE TORTIE | MODEL: MADY S. (HELEN WELLS AGENCY) WHICH CELEBRITY DOES YOUR CAT MOST RESEMBLE? Judi Dench IF YOU HAD TO GUESS, WHICH FASHION DESIGNER WOULD YOUR CAT WEAR? Phoebe Philo

SEQUIN TOP RTA NECKLACE RIPLEY AUCTION 29

OVERSIZED SMOCK BLOUSE DRIES VAN NOTEN VINTAGE CAPE COAT DAVIDSON’S FURS, TOGGERY RESALE SEQUIN SKIRT LE SUPERBE, 8FIFTEEN VINTAGE PIN RIPLEY AUCTION

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BOWIE

OWNER: CAMILA FERRERA | BREED: AMERICAN SHORTHAIR | MODEL: TEMARA P. (HELEN WELLS AGENCY) WHICH CELEBRITY DOES YOUR CAT MOST RESEMBLE? David Bowie IF YOU HAD TO GUESS, WHICH FASHION DESIGNER WOULD YOUR CAT WEAR? Gucci 31

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JOEY WHICH CELEBRITY DOES YOUR CAT MOST RESEMBLE? George Clooney IF YOU HAD TO GUESS, WHICH FASHION DESIGNER WOULD YOUR CAT WEAR? Armani

OWNER: KATHERINE REILING | BREED: LONGHAIRED TUXEDO | MODEL: REBECCA C. (HEYMAN TALENT)

WHITE BLOUSE HD PARIS, TOGGERY RESALE CORSET ANTHONY VACCARELLO, TOGGERY RESALE PEPLUM LEATHER BELT BCBG MIDI SKIRT SIMONE ROCHA SNEAKERS ZARA

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COUTURE PINK CORSET MARLIES DEKKERS VINTAGE BROOCH RIPLEY AUCTION KNIT PANTS VINTAGE PATRICK ROBINSON

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KOLACHE

OWNER: KYLIE HAULK YASIN + MUHAMMAD YASIN | BREED: SPHYNX | MODEL: BAILEY T. (HEYMAN TALENT) WHICH CELEBRITY DOES YOUR CAT MOST RESEMBLE? Jarvis Cocker IF YOU HAD TO GUESS, WHICH FASHION DESIGNER WOULD YOUR CAT WEAR? Shepard Fairey

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BRUCE WHICH CELEBRITY DOES YOUR CAT MOST RESEMBLE? Johnny Depp IF YOU HAD TO GUESS, WHICH FASHION DESIGNER WOULD YOUR CAT WEAR? Gucci

OWNER: KENG XIONG | BREED: MAINE COON | MODEL: GABRIELLE W. (RUNE MODELS)

TIE NECK BLOUSE YVES ST. LAURENT FUR CORSET BELT HOUSE OF 5TH LEOPARD BRA VINTAGE

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IN HIGH REGARD DESIGN PARTNERS UPCYCLE VINTAGE GARMENTS AND ABUNDANT FABRICS FOR EVERYDAY AUDACITY WITH A SUSTAINABLE ETHIC. WORDS BY MONICA SALLAY PORTRAITS BY CALLIE ZIMMERMAN FASHION PHOTOGRAPHY BY BROOKE TAYLOR Emma Hagenauer and William Tyler Grube forged a fashionable friendship in their college years at Ball State University. They each took up sewing at an early age, learning the craft from women in their families. It was their connection through vintage virtuosity that sealed their fate to start their brand, Regard, further down the line.

explained that it brought about valuable moments of reflection for the future of Regard. “It gave us time to reset and think bigger about what we enjoyed most about the process, what we wanted to bring back to the process, the ways we felt like people were being served and were not being served when it came to getting dressed everyday,” said Grube.

With no shortage of puff-sleeves and larger than life frills in their BIG MOOD pieces, word of Regard quickly spread. Though well-connected in Indy, the two were excited to extend their network as notoriety began pouring in. “People have taken a chance on our pieces just going by the word of mouth of someone else,” Hagenauer exclaimed.

Following school, the pair parted ways to pursue their own career paths. Hagenauer worked in various marketing jobs and Grube nabbed an internship with Elie Tahari, eventually moving into the apparel production realm. Once they both settled back in Indianapolis, they reunited over thrift shopping and their love of vintage fashion. “It ended up being a really cool and kind of natural way where I would say, ‘I really want to spend more time designing’ and he would say ‘I really want to spend more time thinking about sustainable design’...We have a lot of complementary skills,” Hagenauer recounted. And so began Regard.

It was then that an epiphany struck. Grube recounted thinking, “Why are we going out and looking for things in the world when we have so much around us while being trapped in our house?” Despite the obstacles, Hagenauer and Grube set a deadline for themselves to create a holiday collection from yards and yards of fabric already available in Grube’s closet.They launched their collection BIG MOOD the day before Halloween 2020.

In March of 2021, Regard debuted its latest collection, Trousseau. Inspired by the clothing a woman would receive upon marriage, its pieces are meant to follow the wearer through all the seasons of life. From billowed and bold-colored separates, to printed and greciandraped gems, their latest releases are not to be missed and arev made to order on demand.

The beginnings of Regard started in late 2019. During their thrift hauls, Hagenauer and Grube would scour Goodwill bins for clothing and fabrics that needed a second life. Together, they created a few upcycled fashion capsules as a pilot for the brand. Entering 2020, the COVID-19 pandemic abruptly stopped their sourcing of vintage pieces in its tracks. However, they

BIG MOOD was about wearing bold and bright looks for everyday occasions. This notion is pervasive throughout Regard’s purpose. Hagenauer reflected on the confidence exuded from the BIG MOOD collection’s model, who donned the clothes to grab a coffee before a shoot. “The way that she would carry herself, and then the way that people would respond to her wearing those clothes…Some people would be like ‘Where are you going?’ But some people would be like ‘That’s a bomb dress. You look great!’”

As for the future of Regard, Hagenauer and Grube hope to employ a team to lend a hand in the creative process.

They plan to continue to launch new collections, as well as lean into their ongoing custom work. The pair hope to build a community around sustainability and slow fashion, two core values around Regard. The duo wish for people to adopt the idea of having “options beyond the rack in front of them” and make fast fashion a thing of the past.

Visit regardthebrand.com or @regardthebrand on Instagram to keep tabs on all things Regard. ✂

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THE PHOTOGRAPHY BY ESTHER BOSTON STYLE BY LAURA WALTERS FOR STYLE RIOT MAKEUP BY NIKKI BROWN HAIR BY DEE LANEE MODELS: HANNAH N. & GINELL B. (RUNE MODELS) DESIGN BY LINDSAY HADLEY

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STRIPED TIGER SWEATSHIRT KENZO PARIS PINSTRIPE BUTTON UP ALICE & OLIVIA ANIMAL PRINT SKIRT LEONARD ST, MELBOURNE BLUE SOCKS VINTAGE WHITE HEELS KELLY & KATIE 46

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Your style aesthetic definitely stands out here in Indianapolis.

How do you go about the challenge of selling and styling in this specific market?

Indianapolis needs it. Laura Walters, the founder of the Style Riot, is on a mission to build a new online shopping experience that heightens relationships with creatives and challenges fashion-curious individuals to step out of the box. The RIOT ROOM is just that; a soulfully-curated collection of different inspirations from unique art to flamboyant vintage pieces.

How did you get to where you are today?

I have been styling for a long time now. I was in marketing for a while, but I've loved fashion my entire life. It has always been my biggest creative outlet. When I moved to Los Angeles, I started working at Anthropologie and I was at the right place at the right time because I was asked to start merchandising the windows. I didn’t have a background in merchandising so it was a great learning experience for me. I just fell in love with it and realized that working in fashion could be a viable career. After moving back to Indianapolis, I started Style Riot. I was doing it as a side hustle while working another job.

Then five years ago, I decided to jump in full time and haven’t looked back since.

You’ve had a long-standing relationship with PATTERN. How did this relationship form and what are some of your favorite memories and projects that you've worked on?

I left Indy in 2004 because as a creative person, there weren’t a lot of creative opportunities for me here. When I came back in 2010, I realized that Indianapolis was a very different place than when I left it and there were a lot of exciting things happening. I knew if I was going to live here I needed to find my crowd and to invest in the creative foundation of the city, as well as build relationships with other creatives. Then I discovered PATTERN. I immediately knew that I needed to be a part of it in whatever way I could. I reached out to Polina and she invited me to volunteer. I volunteered for every single event that they held. I just wanted to be there. I met so many fabulous people. Polina was an incredible mentor to me and I ended up becoming the Event Coordinator for PATTERN for several years. I would say one of my favorite PATTERN memories is just the feeling of comradery between the volunteers. We were all passionate about Indy's creative scene. We all loved fashion and we were really happy to be contributing to that. I'm still friends with a lot of those people to this day, including Polina who is one of my closest friends.

My creative medium is fashion. Always has been. What I wear is a representation of who I am on the inside. Having lived in both Chicago and Los Angeles, I gained even more freedom to explore my personal style aesthetic. I knew that if I was going to thrive here as a creative, I had to be my most authentic self, so I committed to dressing the way I wanted to dress. When I started Style Riot, I wanted to become a support system for people who were interested in exploring their style, but didn’t quite know where to start. I think many people play it safe with their style for fear of making a mistake or for fear of standing out. There is a lot of vulnerability in fashion.

I understand that, but I also want people to realize how amazing fashion and personal style can make you feel. I want people to find confidence in their style and to WANT TO showcase it to everyone.

This isn't always easy, but it's a challenge that I embrace. I want to inspire people and give them the courage to have fun with clothing.

I strongly believe that fashion and style should be fun and not taken too seriously. I also wanted to help people embrace the idea that standing out is okay.

If you could, what would you change about the Indianapolis art and fashion scenes?

I wish more people felt comfortable taking risks with their personal style. I don't think that we have a lot of events or platforms here that encourage people to do that. I'm grateful to PATTERN for that. I also wish that people would put more of an emphasis on shopping locally.

I love all of the local boutiques here. Retail is not an easy business and I commend all of our local business owners for taking the plunge. They deserve our support. I also think our city could benefit from more local retail spots, as well as a more diverse selection of clothing. Lastly, I wish makers and designers had a better access to funding, affordable studio spaces, and business mentorship.

There are so many talented people here, it would be great to see Indianapolis put more emphasis on the impact that creatives can have on a city, both economically and as a driver of tourism.

Tell us a little bit about the Riot Room and what inspired it.

Jenna Lyons is one of my heroes and she did a pop-up shop on Instagram not too long ago. She had an eclectic collection of items that she was selling, and that got me thinking. When I looked at my personal collection of clothing, as well as the makers and designers in Indy, I thought why not put it all in one place. This is actually something I've been wanting to do for a long time. I love the world of consignment, resale, and vintage and we have some fantastic local spots to visit, like Rebel Vintage, Zodiac Vintage and the Toggery Resale. I wanted to contribute to the local vintage/resale scene as well. My goal with the RIOT ROOM is to curate an elevated, shopping experience — a fun, over-the-top, “store” where people can go and shop. The Riot Room is a curated collection of where all the things I love can live in one place.

I don’t know where this concept will end up, but I like that. I like the freedom of not knowing. I hope it's successful and that people embrace it. I want the takeaway to be that fashion can be joyful and fun, and colorful. I want to continue building relationships with makers and designers who are doing incredible work by giving them a platform where they can sell their work. Along with that, I'm going to continue pursuing my love of collecting clothing and selling my treasures to the public. I love the idea of sharing beautiful pieces with people who will love them as much as I do. ✂

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MY CREATIVE MEDIUM IS FASHION. ALWAYS HAS BEEN. WHAT I WEAR IS A REPRESENTATION OF WHO I AM ON THE INSIDE...

I KNEW THAT IF I WAS GOING TO THRIVE HERE AS A CREATIVE, I HAD TO BE MY MOST AUTHENTIC SELF, SO I COMMITTED TO DRESSING THE WAY I WANTED TO DRESS.”

Laura Walters THE STYLE RIOT

VINTAGE EMBROIDERED TOP RIMINI SEQUIN SKIRT VINTAGE BLACK PANTS RAG AND BONE WHITE BUCKLE MULES BLEECKER & BOND BLACK BELT BANANA REPUBLIC, THE TOGGERY RESALE

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OVERSIZED BLUE SWEATSHIRT PROJECT RUNWAY COLLECTION PINK WIDE LEG PANTS,VINTAGE BEIGE MULES FRANCO SARTO 50

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RI T NOW. FASHION AND STYLE SHOULD BE FUN AND NOT TAKEN TOO SERIOUSLY.”

Laura Walters THE STYLE RIOT

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HOUNDSTOOTH BLAZER KATE SPADE OPPOSITE PAGE:

WHAT HAT VINTAGE STRIPED RUFFLE OFF THE SHOULDER TOP VINTAGE, THE TOGGERY RESALE COLOR BLOCK SKIRT INA BLUE KITTEN HEELS SAM EDELMAN

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I WANT THE TAKEAWAY TO BE THAT FASHION CAN BE JOYFUL AND FUN, AND COLORFUL. I WANT TO CONTINUE BUILDING RELATIONSHIPS WITH MAKERS AND DESIGNERS WHO ARE DOING INCREDIBLE WORK

BY GIVING THEM A PLATFORM WHERE THEY CAN SELL THEIR WORK.”

Laura Walters THE STYLE RIOT

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DRESS REGARD SHOES STEVE MADDEN

DRESS VINTAGE SHOES BETSEY JOHNSON

PHOTOGRAPHY BY CHRISTOPHER NEWELL (AESTHETIC ARTIST AGENCY) STYLED BY JULIE MAKEPEACE AND SAMANTHA RIPPERGER MODEL KAYLA CASTRO (LMODELZ MODEL MANAGEMENT) 55

DRESS LOS ANGELES, LESLEY JANE BOUTIQUE SHOES JENNIFER LOPEZ

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PANTS AARON & AMBER, LESLEY JANE BOUTIQUE SHOES MELISSA CHAIN ZARA

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Super WORDS BY RYAN LOWE STYLING BY CAROLINE BAKER

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Caroline Baker is in her 70s and going strong.

As the legendary fashion editor of Nova magazine in the 1970s, she was one of the first people to encourage women to dress for themselves rather than for men. She is also credited with introducing street fashion to the mass market thanks to her uncanny knack for finding style inspiration on the street and off-catwalk before it became the thing to do.

Having worked closely with fashion royalty like Katharine Hamnett, Vivienne Westwood, Helmut Newton, Guy Bourdin and many others, her work has appeared on the pages of Vogue, Tatler, French Elle, The Sunday Times, Good Housekeeping and Cosmopolitan as well as The Face and i-D — and unsurprisingly, a new generation of stylists and trendsetters is now looking to Baker’s work for inspiration.

Tell us about yourself, and how you got into fashion.

I was born in Argentina, but my parents were British, so I grew up between these two countries. In the 60s, when you were thinking about a career, it was either become a secretary, nurse, or stewardess so I became a secretary. From there, I got introduced to Molly Parkin who was an editor at the newly launched NOVA magazine. NOVA was for the woman who didn’t want to read Vogue.

A woman who was more interested in journalism. I started at NOVA as Molly’s assistant, but quickly became the fashion editor and did a lot of work that became quite well known.

What are some fashion trends that you are credited with starting?

The ‘Ban The Bomb’ marches were popular in the mid-Sixties, and everyone wore army surplus gear on those marches, so I found an Army Surplus store and I fell in love with the whole aesthetic. No girl my age was seen wearing anything like that. I ended up doing a shoot for NOVA putting the models in khaki-colored military clothing. I didn’t realize that people were paying attention, but a few months after that story was published, I went to Paris to see some fashion shows and suddenly there were all these army surplus looks at a Kenzo show. That’s when I realized, “wow, my crazy ideas are working!”

I always thought men's clothing was so fantastic and that you could look feminine in menswear. Mid-60s, Yves Saint Laurent had introduced the tuxedo, but trouser suits weren't frequently found in women's wardrobes the way they are now. Another obsession of mine was layering, and underwear as outerwear. Can you imagine?

In the '50’s and '60’s, your boyfriend would die if he saw your bra strap. You had to be completely brave to go out in public looking different from the expected, because you’d be judged.

Then the leg warmers. I saw dancers wear them as part of their practice uniforms, and decided to incorporate them into my wardrobe because I was always cold. I was shocked when they took off as a global phenomenon. That’s when I realized the power that the media had on the public and how they dress.

What was it like working with Helmut Newton?

I was amazed he was allowed to work with us because of his contract with Conde Nast but he really liked NOVA magazine.

He would ring me up and say “Oh Caroline, let's do something,” so I would turn up with clothes that he wasn’t getting from other magazines he was associated with. I used to do work with him in his studio along with his wife Alice Springs.

NOVA fell victim to the massive recession that took place in Great Britain in the '70s, and the magazine folded. What did you do after that happened?

By then, I had worked with a lot of photographers and they helped me get freelance styling jobs. British Vogue got in touch with me because Grace Coddington had been in an accident. But I was too punk for them. I went on a trip to Jamaica to find work, but didn’t have any luck. I returned home to England and ended up living near Vivienne Westwood. We used to hang out in her shop SEX on Kings Road and she offered me a job. So I became her assistant for a year. We worked on the Mud collection together.

You worked for British Cosmopolitan in the '80s, how did that come about?

One day, I ran into Liz Smith, who was the editor of British Cosmopolitan at the time, and she said to me “I'm leaving Cosmo, do you want to come to Cosmo?” and I thought it might be good to have a regular salary, plus I thought I would have editorial control.

But then the Japanese designers took over Paris runways in the 1980s and Cosmo couldn’t deal with it. I had a massive row with the editor about it. I wanted to cover Japanese designers and instead she told me to go do a story on Karl Lagerfeld because Chanel had just signed him. I did the interview with Karl but that was the end of me at Cosmopolitan because she just wasn’t into my work.

What was it like working on those amazing Benetton campaigns?

It was so much fun doing Benetton campaigns with Oliviero Toscani for a few years! The shoots were massive, with models from all over the world and I would have to go to Venice and pick from millions of clothes. It was amazing!

You said that given the career options that were available to women, you decided to become a secretary. Does that mean that you had no background in fashion?

That’s right. I had no fashion background at all. I didn't even realize I could’ve gone to school to study that and I never knew that the Royal College of Art was up and running. But I was mad about fashion, and it turns out I was a natural. I absorbed what was happening in fashion. I was instantly able to see things that were different and new and that I thought were going to be influential. It’s like I had some kind of intuition about it.

What other magazines have you worked with?

Cosmopolitan, Elle, Italian Marie Claire; I worked at British Vogue briefly but I’m not really a Conde Nast kind of person. Then from there, I went to a big newspaper group called Mail on Sunday, where I finished up my career at the You magazine.

What are your thoughts on the future of the industry?

I love fashion magazines and the whole fashion world. People say things are going to change a lot, but I don’t think they will. I think people gain so much from fashion that I can’t imagine it ever disappearing. People are saying it's going to get even more difficult for print publishers so maybe my grandchildren's generation will never get to experience print magazines. Who knows? However, I think fashion designers will carry on, and talented people will continue to bubble up to the top of the fashion schools. Talented people with a new vision, even if the new vision is an old one because when you study fashion you realize you're redoing things that have been done before. It’s especially clear to me now because my fashion career spans over six decades.

I’m also very fascinated by the Influencers and how they impact the industry. I think the fashion designers will carry on leading though.

It's all a cycle, isn’t it? ✂

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IN FULL

BLOOM PHOTOGRAPHY BY JAY GOLDZ PHOTOGRAPHY ASSISTANT YISHAQ STYLE BY SARIAH BOROM & MACKIE SCHROETER (AESTHETIC ARTIST AGENCY) HAIR BY DEE LANEE (AESTHETIC ARTIST AGENCY) MAKEUP BY JON GREGORY (AESTHETIC ARTIST AGENCY) DESIGN BY AMY MCADAMS-GONZALES FLORAL ARRANGEMENTS PROVIDED BY: SOLSTICE FLORAL, RK FLORALS, KNOX FLORAL DESIGNS, AND VIOLETS ARE BLUE FLORALS

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EARRINGS A NEW DAY SHOULDER PIECE KNOX FLORAL DESIGNS

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EARRINGS A NEW DAY SHOULDER PIECE KNOX FLORAL DESIGNS DRESS BEAUTY + GRACE SHOES CALVIN KLEIN 62

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HEAD PIECE RK FLORALS EARRINGS A NEW DAY TOP DIANE VON FÜRSTENBERG

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ARRANGEMENT CROWN & CLOTH EARRINGS A NEW DAY TOP BEAUTY + GRACE DRESS TED BAKER

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HEAD PIECE VIOLETS ARE BLUE TOP + SKIRT SET ALICE + OLIVIA

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8.14.21

An immersive street and pop culture shopping experience.

With special guest: T.J. WALKER OF CROSS COLOURS

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August 16-21, 2021

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future-facing

CRAFTING ONE-OF-A-KIND LUXURY DESIGNS, BETH BENNETT IS INVESTED IN THE SUSTAINABLE FUTURE OF INDIE FASHION. WORDS BY CAROLYN HADLOCK PHOTOGRAPHY BY DAUSS MILLER

Beth Bennett has a unique perspective on where fashion is headed because her design style is inspired by history and vintage fashion. She creates one-of-akind pieces, some reconstructed from vintage textiles and others where she incorporates vintage embellishments into new pieces.

Her latest collection has a retro aesthetic inspired by the 1950s.

EVERY PIECE TELLS A STORY Beyond her exquisite attention to detail and craft, Bennett’s work is informed by her training as a theatrical costume designer. She describes costume design as “a form of collaborative art. You’re creating art from a playwright’s words on a page. Beyond the written page, you’re working with set and lighting designers, choreographers, and the director who has to pull it all together.” While this exchange still energizes her, lately she has been drawing more inspiration from her inner muse.

Bennett is unabashedly not into fast fashion, which has built itself up over the past decade to be a highvolume, homogenous, disposable retail machine. Her worst nightmare is to go into a Goodwill and see one of her pieces on a rack, even though Goodwill is one of her favorite haunts. To her, fashion is akin to art and should be cherished and preserved by passing it down to the next generation.

REPURPOSING WITH PURPOSE She’s hopeful that the rise of sustainable fashion and the hipness of repurposing is here to stay. Iconic brands like Patagonia (with its “Worn Wear” collection and haute couture house) and Miu Miu (with its newest “Upcycled” collection, a limited selection of anonymous finds from the 1930s-'80s) prove that sustainability is more than a fad.

Though she is happy that designers are not always starting with raw material, she is a bit trepidatious about reworking a designer garment. “If I were going to

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take a Nicole Miller jacket, for example, and turn it into something else, I would leave the former designer’s tag in the garment and add mine to it. It’s important in the sale of the garment to be very transparent about its provenance.”

Another trend Bennett is thrilled about is inclusivity. “I am so into Christian Siriano. He’s my favorite current designer. He makes beautiful clothing, but he’s going to go down in history for embracing all body types.”

Though she “isn’t a GAP store” having each piece in multiple sizes, Bennett wants to have something on her rack that is accessible from size 0 to size 18.

FASHION COMES FULL CIRCLE When it comes to fashion’s future, Bennett says she sees consumers buying fewer pieces of more quality that will last longer and believes people will start repairing clothing again. “There will be a turning away from the consumerist blind sprint to the retail racks to cloak us with a look to more of a consciousness about oneself, a ‘wokeness’ about your personal style that carries societal and ethical responsibilities.” She sees innovation happening in fashion with apparel tech like AI to predict trends and on-demand purchasing technology to reduce the massive pre-order of unpurchased clothing that ends up in landfills at the end of every retail season.

That said, she knows that consumers will always be comfortable with duality, especially when it comes to their fashion. “We will still crave our decadent visual flights of fancy and escapism as we lounge in our consciously purchased, sustainable knit uniforms.” ✂

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WE WILL STILL CR AVE OUR DECADENT VISUAL FLIGHTS OF FANCY AND ESCAPISM AS WE LOUNGE IN OUR CONSCIOUSLY PURCHASED,

us sntiatiunanibflorems. k

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HAIKI HAIKU

CREATIVE DIRECTION BY LINDSEY MACYAUSKI PHOTOGRAPHY BY CHRIS WHONSETLER STYLE BY SAMANTHA RIPPERGER MAKEUP AND HAIR BY JESSICA WINCHELL MODEL KATIE MASON (10MGMT) DESIGN BY LINDSAY HADLEY

INSPIRED BY ART, ARCHITECTURE AND ROCK N’ ROLL, HAIKI IS THE RENEGADE CHILD OF THE CLASSIC AND AVANT-GARDE, DESIGNED TO ELEVATE AND EMPOWER. HAIKI BELIEVES IN THE TRANSFORMATIONAL EFFECT OF HEIGHT, RECOGNIZING PLATFORMS AS A CONSTANT, NOT WAVERING TREND.

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LINDSAY ADLER, FASHION PHOTOGRAPHER, ON STARTING A BUSINESS AT 15, REDEFINING FEMININITY, AND THE SYMBOLISM OF THE COLOR RED.

BEAUT FUL TH NKER WORDS BY CAROLYN HADLOCK PHOTOGRAPHY BY LINDSAY ADLER DESIGN BY LINDSAY HADLEY

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Lindsay has been named one of the top 10 fashion photographers in the world. Her work is visceral yet soft. Each image draws you into a world that is beautiful and powerful. Though she has a graphic signature style, her range is far and wide. Each image is like a thumbprint. She is equally unique with her openness to experimentation, sharing her knowledge and learning continuously, all while having a clear sense of self and purpose.

As I’ve been looking through your work, I’ve noticed that the color red seems to be important. Why do you think that is?

That’s a fun question to start with. I think the color red began as an accident.

Really it stems from the first photo I ever took that looked like my style. When I was in college, I was going through the artistic crisis of like, who am I as an artist? What do I want to be? What do I want to say? I’d ordered these cyber punk, futuristic, weird-looking glasses. I bought them online and I took a photo where it was this red and white pinstripe on the glasses, almost like swirled red lips, white out skin. I took the photo, and it was kind of like this universal hug. It was like, Oh, this is me. This is my style. It was using clothing, makeup, and the human form to make graphic art. So very clean, bold, graphic, geometric and colorful.

So, red started there, but then as my work evolved, I found that the way that I portray women is with strength and elegance. No matter what image I take of them, they always look strong. They always look elegant. And I think red is a great color to do that. It’s such a powerful color. It’s just something that demands attention.

Tell me about your journey as a photographer.

I’m one of those insanely lucky people that figured out what I wanted to do crazy, crazy early. I had committed a hundred percent to being a professional photographer by the time I was 15. That’s when I started my business. But I pretty much knew around 12 or 13 that photography was where my life was going to lead me. I started my business with my mom as my partner because she was a hobbyist photographer and interested in supporting me. And so, at 15 I was photographing my fellow high school students, maternity sessions and high school portraits and weddings and family, like, you know, what you do in a small town. When I eventually did go to college, I had already been running a business for several years and it was great because I figured out what I did and didn’t like so I went into college with an idea of changes I wanted to make and things I wanted to learn instead of starting from scratch.

IT STARTED WITH A COLOR, BUT AS MY WORK EVOLVED I FOUND THAT THE WAY THAT I PORTRAY WOMEN IS WITH STRENGTH AND ELEGANCE. NO MATTER WHAT IMAGE I TAKE, THEY ALWAYS LOOK STRONG AND ELEGANT. RED IS A GREAT COLOR TO DO THAT.”

Lindsay Adler

That must’ve made you a really interesting student for your teachers.

I was probably super annoying.

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You mentioned your mom was a photographer as well. Did her influence push you in that direction?

It was a lot of people in my family. My mom was a hobbyist photographer. My aunt was a hobbyist photographer. My grandmother was a hobbyist photographer, and she remembers her father when she was a kid having a dark room. It was kind of a way to spend time with the family. I grew up in rural upstate New York, and I remember at 12, maybe even younger, we would wander around the family farm and take pictures of mushrooms and whatever was in front of me. I remember this one hike that we took. We went up this old dirt path, and my aunt would be photographing a fern and I’m photographing a mushroom. And then my grandma would be photographing the whole scene. Each one of us is looking and discovering something different around us.

So, it started off as a way to spend time with the women in my family.

Photography was close to my heart, and it just instantly felt meant to be.

Tell me about when you decided to pursue fashion photography.

When I went to college, I went out of my way to ask a ton of professional photographers what I should study in college.

And pretty much a hundred percent of them said, study business and don’t do photography. Their argument made perfect sense.

You can learn the craft of photography, but the reason that most people fail and don’t make it is because they don’t understand the business side. So, I did both things.

And in my third year of college, I took a class that was an elective.

It wasn’t exactly studying the history of fashion photography. There was a teacher who loved fashion photography. He loved vintage photography and he basically just wanted to talk about what he loved. As I was looking at the visuals, I remember thinking, Oh, that’s so strange. I never thought I’d be interested in fashion photography because I’m not a fashionista myself. But as I looked at what these photographers created, there was storytelling and elegance and stunning lighting and conceptualization throughout the images. And I’m like, that’s what I meant to be doing. I think my original stumbling block was that I thought to be a fashion photographer, I had to own all these designer clothes and always be dressed up. But it doesn’t work that way. You don’t have to be the art, you can create the art.

I really like how you’re able to capture femininity, but also power.

Sometimes for women those two things are at odds — the idea that you can’t be super feminine and still have power.

Yeah. I think it comes back to how I want to be portrayed and who I want to be. I’m not meek, demure, soft. It’s just not who I am. I think it’s my way of saying I can be my own interpretation of what a woman is.

It doesn’t have to like femininity or be one specific thing. I consider myself to be quite feminine, but maybe just not in the traditional ways.

Your work feels very theatrical. Is the theater an influence of yours?

I was a super theater kid. I loved it. I was the lead in the eighth grade play. And then when we got to high school, we did musical theater, and I can’t sing at all. So that sort of dashed my dreams away. The part of it I loved was the set design and dramatic theatrical lighting.

I absolutely use that in my work. But I also think the other part of it is with my teaching. I get to do a little bit of that performance and stand up in front of big groups of people. And so between my photography and my teaching, I kind of check all those boxes.

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I love how your work is very exotic, and yet you as a person aren’t afraid to demystify it. It seems like there’s a lot of trade secrets in protective spaces. Do you feel that too?

I started teaching more ten or eleven years ago. I was new and young and really just wanted to help people learn. I didn’t have any concept of this thing called "trade secrets." I was an open book. And if you came to learn from me, why wouldn’t I provide you as much information as possible? I think it really was like an avalanche. So many people started sharing and showing behind the scenes. And that was just not something that existed when I started at all. So yeah, I enjoy doing it. And my other personal mantra is if I share all my secrets, then I have to go find new ones, and that pushes me.

Do you think fashion has changed much since you got into it?

Well, I think fashion photography has changed a lot. When I was first interested in it, everything you saw was aspirational. You would aspire to look like this model, aspire to wear this clothing. But now it’s kind of splintered. There’s the aspirational fantasy side, and then there’s the more reality, authenticity side. You see that in ad campaigns where there’s minimal retouching, very ready-to-wear normal clothing models that have unique features atypical to a model, or they’re a girl-nextdoor kind of look. In the past, I feel like a lot of beauty campaigns would be similar and they’d put their own spin on it. Even just in beauty, you have something like Glossier where there’s no retouching, hardly any makeup, natural light, just super, super raw. But then you still have the existence of brands like Pat McGrath, where it is heavy makeup, heavy retouching, heavy lighting. And I don’t think these two strong different categories existed when I started.

I think part of the reason is that influencer culture and things around celebrity have shifted it so that it’s not as prestigious. I haven’t seen too much of the “huge influencer that becomes a cover girl” thing.

There was one influencer, James Charles, who was literally the first male CoverGirl. But for the most part, you don’t see it so much.

It also feels like gender fluidity in fashion is becoming a little more mainstream. Do you ever foresee shooting men for fashion portraits?

I used to, and then I didn’t see myself as inspired. And so then I stopped. I did recently photograph my first trans model for a job and it was super fun, and she was fantastic in front of the camera. So I’m also seeing a lot more when it comes to different types of gender expression in front of the camera. But I can definitely see myself doing some creative beauty things with men. Recently I saw Lady Gaga promoting her makeup on Instagram, and they were advertising her eyeliner with a really chiseled dude as the model. So yeah. It’s fun.

Finally, I ask this question to everyone: How would you define beautiful thinking?

Beautiful thinking is your ability to perceive beauty in your own way in the world around you. And I think that comes back to style. I am obsessed with the fact that two artists presented with the exact same concept, even the exact same materials and tools, will create completely different results. That is so beautiful and so unique.

So I think beautiful thinking is your unique perspective and how you interpret ideas and the world around you. I love it. I think that’s what I love so much about photography. ✂

I AM OBSESSED WITH THE FACT THAT TWO ARTISTS PRESENTED WITH THE EXACT SAME CONCEPT, EVEN THE EXACT SAME MATERIALS AND TOOLS, WILL CREATE COMPLETELY DIFFERENT RESULTS. ”

Lindsay Adler

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PHOTOGRAPHY BY JAY GOLDZ & LEO SOYFER CREATIVE DIRECTION BY POLINA OSHEROV WORDS BY JULIAN J. JONES DESIGN BY LINDSAY HADLEY 88

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FASHION FOR WARD

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WILLIE VIVARETTE What do you do for a living?

I am an investor and fashion designer.

How would you describe your style?

My style is out of the box. I love putting different patterns, colors and textures together.

Fashion is about breaking the rules. I grew up not having much but I always admired people that dressed nice.

Tell us about your outfit.

Hat: Keith and James Bow tie: Viverette Ties Blazer: I.N.C. Belt: MCM Shoes: Giuseppe Do you believe in following trends?

I do not follow trends. If everyone is doing it, I want to be different. I would consider myself a trend setter. Be different. I wasn’t born to fit in.

I was born to stand out.

Who is your favorite fashion designer?

Gucci. This brands really stand out to me.

What does the word “FASHION” mean to you?

Fashion means life. When I look good, I feel good.

Fashion is like the universe. Infinite.

Willie

Who is your favorite stylist?

Dapper Dan is my favorite because he has put in a lot of work. His grind has been consistent and he never gave up. I feel that he paved the way for me and others like me.

Where do you shop?

I shop at Saks, Macy’s and H&M. Also I find a lot of great things online. I love shopping when I go to Paris and London because I can find great pieces.

If you had your own fashion brand, what celebrity model would open for your fashion show?

I would want Floyd Mayweather and Diddy rocking the Viverette Tie. I feel they would help me get the message across to the masses.

How was your style affected by the pandemic?

It wasn’t. My swag is unaffected no matter the weather. I quit school because of recess. If you see me in the forest fighting a bear, don’t help me.

People tend to connect music with fashion, why do you think this is? What is your connection?

Music drives the fashion in most places. If the right hip hop artist wears your brand, they can accelerate it. Music is always changing also so that causes fashion to change.

JJANGA HORNE What do you do for a living?

I’m a mother of two kids and three pups, I was a dancer, hair stylist, and I currently model and do lash extensions part time!

How would you describe your style?

I love to incorporate yin and yang with my style. Dressy with casual, leisure with gowns, bold with muted!

Tell us about your outfit.

I actually borrowed my boyfriend's COOGI sweater and wore it over the Jay Godfrey gown and my Thousand Fells sneakers.

Do you believe in following trends?

I like to take from trends but I suck at following all of them because it becomes so repetitive and I like to not be like everyone else when I leave my house.

Who is your favorite fashion designer and why?

Vivianne Westwood for her unique boldness and fun designs.

J janga

How was your style affected by the pandemic?

It actually emboldened my style. I used to take for granted each day I had the chance to wear something fun and different. Once quarantine began and we weren’t allowed to really go out it made me realize how often I neglected my own personal style.

What is your perspective of the fashion style here in the midwest?

I wish more people would branch out from wearing what one influencer in Carmel wears and stop shopping at sporting goods for their “fashion.” A wide brimmed hat is overused and tan knee high boots with a North Face vest can only be worn so much!

Do you have any favorite fashion campaigns?

I love seeing body inclusiveness, it’s so important! The fashion industry has been toxic for mental and physical health for too long. Its supremest behavior towards one specific body type is coming to an end and I love it. I’m honestly obsessed with Aerie lingerie campaigns. The inclusiveness is amazing to see.

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DEBBIE RUIZ What do you do for a living?

Associate Buyer + E-commerce Entrepreneur How would you describe your style?

I would describe my style as street style mixed with chic, grunge and vintage, depending on the day. I love to experiment with different styles of clothing, so sometimes it can be hard to really pinpoint what my exact style is. I do love oversized and flowy clothing, especially with being tall, I think it suits my long legs the best.

Tell us about your outfit.

My dress is actually from Shein.com. I'm currently trying to experiment with different dress styles and that website is perfect for those on a budget.

I'm not much of a dress gal (which my mom hates!

Haha!), but this one is very up my lane!

My sneakers are the Nike Shox TL that I got from my job for thirty bucks! When I saw that Shox were becoming a thing again, especially in the TL version, I had to immediately get on that! I remember wanting a pair as a kid and my parents didn't have the funds to buy them, so wearing these gives me a bit of nostalgia.

Gold jewelry is something I cannot go a day without, even while working from home! My pieces are either from Mejuri/Etsy shops and one of my chains my parents gifted to me as a kid.

I think it's very important to invest in fine jewelry, because one day I will pass it on to my kids/ grandkids and the value always increases with these items.

Do you believe in following trends?

I find that following fashion trends can be fun and can push the envelope with your personal style. I do believe that you need to individualize the more trendy items in your wardrobe.

When it comes to sneaker trends, I used to buy anything that was a good price and trendy. Now, I only buy sneakers I genuinely love that happen to be trendy and right now I have no intentions of selling or donating them.

Where do you shop?

I pretty much shop at all the main stores you see on social media: ASOS, Zara, Shein, Missguided, Pretty Little Thing, Bershka and the list goes on.

I do love thrifting and going to vintage stores to finish off my outfits with a special little touch.

I either go on Depop, or to Poshmark, Zodiac Vintage, Vintage Kulture, Salvation Army and any Goodwill around the city.

What is your definition of “ART”? And how do you see art in connection with fashion?

To me art is anything you find beauty in, everyone’s definition should be something different. I do find myself being attracted to art that relates to my sense of style. I absolutely love a minimalist art moment, but I also love eclectic art with more subtle hues, which also coincides with my style.

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Debbie

ERICA SCOTT What do you do for a living?

Owner of vintage boutique, Fly’s Nest.

How would you describe your style?

Eccentric, bold, colorful, one of a kind!

Tell us about your outfit.

I'm wearing a vintage Ann Taylor Blazer, vintage Chaus Blouse and vintage Eters & Ashley skirt. Shoes are newest Jordan x Aleali May Califia Zoom Comfort.

Who is your favorite fashion designer and why?

I love most vintage Chaus pieces. They fit my style and are usually a bold print or have some other statement. And they fit my body well.

Who is your favorite stylist?

My favorite stylist right now is Shionat Turini.

She has styled a lot of my favorite black celebrities like Tracee Ellis Ross, Issa Rae and Solange. She's not afraid of color and drama!

Where do you shop?

I'm a die hard thrifter and Goodwill is by far my favorite. Mostly because they are conveniently located and have many discount days and constantly stock the racks.

If you had your own fashion brand, what celebrity model would open for your fashion show?

Probably Issa Rae! I love her style and the platform she has created for black women.

I feel most represented by her and her brand.

A close second would be Carrie Bradshaw!

How was your style affected by the pandemic?

I leaned into comfort more and became a “sneakerhead.” I now own more sneakers than heels which was unfathomable before.

Love dressing up sneakers and I feel they’ve elevated my style. I also became OBSESSED with luxe loungewear like vintage silk, satin and nylons. Which I also like to layer as outerwear.

Erica

What is your perspective of the fashion style here in the Midwest?

Trendy. Which is why I encourage people to create and build their own unique style. Don’t let trends overshadow your personal style.

What is your definition of “ART”? And how do you see art in connection with fashion?

ART is creating. Anything creative I view as art. Outfits are something we create daily.

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KIARRA LOGAN What do you do for a living?

I’m a fashion stylist.

How would you describe your style?

Street meets chic. A cool Mom! Tell us about your outfit.

I am wearing a vintage, leather blazer from one of my favorite vintage shops on Washington street.

The owner is an amazing person and always finds/reworks the best pieces. My belt is one of my DREAM pieces. A vintage Chanel chain belt from the '90s. I had searched for it for years and waited until the time was right to add it to my closet. My shoes are Bottega Veneta. They are one of the "it" brands for shoes this season.

Do you believe in following trends?

I think trying trends can be fun! If I am trying a trend or exploring something new with my style, I try not to spend a ton on it. I would definitely look for a vintage option first. I always believe in exploring with styles.

Who is your favorite fashion designer and why?

Saint Laurent. I love the brand. Always have.

Always will.

What does the word “FASHION” mean to you?

Fashion = Life ! Enough said!

Who is your favorite stylist?

Ohhh this is hard. Right now Wayman + Michah.

They have been KILLING it with Regina King.

Law Roach. Zerina Akers. I have too many.

Where do you shop?

I don’t shop in Indy, unless it’s vintage. I love Naptown Thrift. In Indy, that is where I shop for sure. I shop in Europe, mainly Italy. I go to Chicago quite a bit and online of course.

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If you had your own fashion brand, what celebrity model would open for your fashion show? Why? Tracee Ellis Ross although she isn’t a “model.”

She is my spirit animal.

What is your perspective of the fashion style here in the Midwest?

I think it has a ways to go, but there are a lot of great designers, stylist, artists, and creatives making big waves for us!

AARON DELGADO What do you do for a living?

I’m a DJ. How would you describe your style?

COZY. Although I try to mix things up, I can admit that workwear and earth tones have a grip on me right now. The older I get, the more I value pieces that are comfortable, long lasting and look better with age. A lot of these pieces fit that description perfectly. Aside from that, this aesthetic really reminds me of my late grandfather, who is a very important person in my life.

Aaron

Tell us about your outfit.

I’m wearing some Notre Dunks, a pair of fatigues from 3Sixteen, a shirt from Infinite Archives, and a quilted jacket from 18 East. This Infinite Archives shirt is actually one of my favorite pieces because of the history behind it. It was originally released in 1991 by Hiroshi Fujiwara to help bring attention to what happened to Rodney King in LA. Hiroshi worked with Easy Otabor to revamp the design last summer to help support the Black Lives Matter movement and the proceeds from the shirt were donated to a community revitalization program located in Chicago. The fact that a design highlighting police brutality and racism is just as prevalent today as it was when it was originally issued almost 30 years ago speaks volumes.

If you had your own fashion brand, what celebrity model would open for your fashion show?

Young Thug. He's the GOAT. Just search for that video of him at the VFILES Season 7 fashion show and you'll understand.

How was your style affected by the pandemic?

Comfort has always been important to me, but all that time at home caused by the pandemic pushed it to the forefront. After taking some time to recalibrate and sort through things, I ended up donating a lot of stuff and revamping my wardrobe. It was interesting to see which brands stepped up during the pandemic and which brands didn’t. That’s definitely something I consider when I shop now.

People tend to connect music with fashion, why do you think this is? What is your connection?

Music inspires fashion, and vice versa. They go hand in hand in my opinion. I’ve always looked at both of them as forms of self-expression.

Music videos are the perfect example of the marriage between music and fashion. There are so many iconic looks from the videos I’ve seen growing up. To be honest, I’m still hunting for that Running Dog bucket hat Pharrell wore in the “Mr. Me Too” music video. I cannot get dressed without playing music, and I feel 100% more confident spinning when I feel like my outfit looks as good as the music I’m playing.

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AARON MARSHALL What do you do for a living?

Co-Owner of Naptown Thrift How would you describe your style?

I would describe my style as vintage, worn, comfortable and earth-toned.

Tell us about your outfit.

I am wearing a '90s Cross Colours shirt which is one of my all time favorite brands for their messages on clothing about inclusion and peace.

The floral shirt is a vintage Ralph Lauren piece. My jeans are '90s, Levis Red Tabs with some paint splatter. My shoes are '80s Chuck Taylors that walked into my shop and just happened to be my size! Lastly, my shades are an old pair that my dad purchased back in the '80s and I remember him wearing them when I was younger until he gifted them to me. Almost everything I'm wearing was thrifted locally!

Do you believe in following trends?

I believe people set their own trends with their personal taste and style. You can take cues from any popular trend from any time period or culture and put your own spin on it to create a completely new fashion trend that is unique to you. If you aren't adding your own flavor and uniqueness to something, you may as well not do it at all.

Who is your favorite fashion designer and why?

My favorite fashion designer would have to be Ralph Lauren. His pieces are the definition of classic quality and the brand has commanded the respect and the attention of popular culture for decades. I am especially a fan of his earlier collections that often showed a range of options from casual streetwear to dress attire. He made functional gear and sub lines such as Polo Sport for athletics, Polo Sportsman for hunting and outdoors, Polo Ski for winter outerwear, and even dabbled in early streetwear trends such as his Polo Skate line. All of these options provided a timeless aesthetic while being able to make a statement and stay relevant.

What does the word “FASHION” mean to you?

Fashion is a personal word to me. Someone's sense of fashion is an extension of their own personality and what they love. You can look at what someone is wearing and gain an understanding about who they are. Fashion is influenced by people and their surroundings. Climate, culture, occupation, socioeconomic status and other factors all influence what people decide to wear and bring into the world whether it be for functionality or to make a statement.

Where do you shop?

Almost 100% of my wardrobe is vintage or secondhand. Whatever isn't vintage is almost always a locally owned streetwear brand often from one of my friends in the city. Hopefully I can be a billboard for sustainability and supporting local creatives with what I wear on a daily basis.

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Aaron

TIFFANY BENEDICT BROWNE What do you do for a living?

I’m a local historian/researcher/ writer and Founder of HistoricIndianapolis.com.

How would you describe your style?

Feminine. Fun. And colorful AF.

Tiffany

Tell us about your outfit.

This is an everyday sort of look for me — comfortable and colorful fabrics, a maxi Ankara skirt with deep pockets, and a hat for shade. Wearing pieces by a few of my favorite designers. Skirt: @Yemi.San.Designs; Shoes: @Fluevog; Hat: @ChaChasHouse; Statement necklace: @JewelryValentina; Earrings: @HelloLittleFriday.

Who is your favorite fashion designer and why?

I've never been much for following contemporary designers and only stopped wearing almost exclusively vintage a few years ago. My real favorites are (the original) Christian Dior, Edith Head, Charles Worth, Charles James, Adrian, et al. Current designers: Ulla Johnson for the feminine details and fabric; La Double J for the prints.

Who is your favorite stylist? And why?

Me! Seriously, I love pulling looks together for myself, sure, but I have just as much fun dressing up friends. I don't know why but I find it a deeply satisfying exercise. I loved styling an early PATTERN feature years ago with looks from three eras, photographed by Esther Boston. I look forward to having time to do such things again.

Where do you shop?

Everywhere. My husband and I travel a lot, so I always try to find boutiques, flea markets and vintage stores wherever we go.

Otherwise, mostly Etsy, eBay, or Poshmark.

These days I'm usually looking for something specific, like a killer belt or another accessory in a certain color. Locally, I've gotten quite a few fun accessories at Artisans on Mass Ave. What is your definition of “ART”? And how do you see art in connection with fashion?

My definition of art is blurred around the edges and a little esoteric. I feel like pretty much everything is art: how you do what you do, how you live, and of course, how you dress. I see art and fashion as an incessant feedback loop. I believe everyday dressing is an underrated form of art, using a palette of clothes, colors, and accessories; a mixture of new and old; part of stories past and stories of the future. When strangers say that what I'm wearing makes them smile—and I'm surprised how often that happens—it makes my day!

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RACHAEL DONALDSON What do you do for a living?

Forensic Latent Print Examiner How would you describe your style?

My style is definitely a mix. It’s bold and colorful, but feminine and frilly. A little retro & whimsical with a touch of rock ’n’ roll.

Tell us about your outfit.

I wanted to really show some bold color with my outfit; hence this twirly rainbow tulle skirt from J. Crew. I LOVE music, especially rock, so I repped my favorite band of all time with this Chaserbrand tee. I always like a completer piece and my signature jean jacket was the perfect topper.

I own probably 20 jean jackets in different styles, but Pilcro and the Letterpress (sold at Anthropologie) is my go-to brand. The shoes are by the AMAZING John Fluevog.

I thought they added just a little more uniqueness to the ensemble. The bag sums up my love for rock 'n' roll! I believe accessories make an outfit so I wore some statement pieces for some additional eye candy.

Do you believe in following trends?

No I don't. I realize the band tee is super trendy right now but in the early '80's, I was going to concerts and amassing authentic tees by the dozens. They were too big for me back then, but I would wear them as pjs! I certainly wish I had my collection today! But, no, I do not follow trends.

I wear what I want, when I want. After the hype of the band tee dies down, I’ll still be wearing my favorite bands. I like to be unique and dress in what makes me happy. My choices of clothing are not always on trend, especially here in the Midwest.

Who is your favorite fashion designer?

My very favorite designer is Eva Franco because it’s almost like she designs clothes just for me. Her pieces are feminine but whimsical and the quality is unmatched. She's amazing!

Rachael

Where do you shop?

The main place I shop is Anthropologie. I adore the bright colors and eclectic pieces. From graphic tees to embellished cardigans to beautiful, fancy dresses, they really have it all.

To be completely honest though, I am way more enamored by their pieces from 10+ years ago. So I buy a lot from eBay and Poshmark. Nineve (on Poshmark) has an unbelievable collection of "vintage" Anthro, so I am obsessed with her Poshmark closet! Bold patterned vintage pieces have my heart! Thrifting for those special items from older eras is so fun! Modern Millie Boutique is also a really cute shop that has retro dresses and novelty bags. LOVE! People tend to connect music with fashion, why do you think this is? What is your connection?

Well, I can't speak for others but music and fashion are HUGE parts of my life. I have grown up loving both. Certain songs and bands really speak to my soul and the way I connect the two is by wearing band tees of the artists I adore. I would never wear a tee of a band I didn't like­­— I wouldn't want to be associated with them! In other ways, I wear more edgy items like black leather jackets or biker boots to show I'm a rock music type of chick. Someday I hope to get a tattoo of song lyrics. I don't usually wear cowboy boots or hats because I don't care for the type of music those items represent. So, I guess people tend to dress the way music makes them feel.

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VALERIE FOSTER What do you do for a living?

Social Worker and e-commerce entrepreneur How would you describe your style?

I would describe my personal style as versatile. I like switching up my looks based on the weather and my mood, so one day my look may be bold, feminine, and full of color and other days it may be more of a streetwear look with sneakers and an oversized top. It really just depends on how I feel when I wake up.

Tell us about your outfit?

Today was really gloomy and wet outside, so I went with a neutral look that would take me from the office to happy hour. I try to stay stylish in the office without going overboard. My top is by Staud, my pants are from Express, and my sandals are by Marc Fisher.

Who is your favorite fashion designer?

One of my favorite fashion designers is Autumn Adeigbo. Her designs are one of a kind; she's not afraid of mixing patterns and having fun with color. I also love that her designs are size-inclusive!

Valerie

Where do you shop?

I shop mostly at Nordstrom, Express, and my online boutique ZURRI Boutique.

When I want unique accessories, I will shop with a local handmade art and jewelry shop called Earth and Fire.

They have some of the most beautiful crystal jewelry that always catches my eye.

How was your style affected by the pandemic?

Since the pandemic, I feel as though my style has become bolder. As businesses open back up and the weather warms up, I find myself wanting to try styles that I never would have before. I also no longer care if I'm overdressed. Being alive is a special occasion, and I'm dressing for it every day!

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The music industry can be a constant tug-of-war between artists and the consumers of their craft.

As much as a musician tries to curate their sound to define who they are, what consumers come to expect of an artist’s new releases can make it challenging for them to find that definition. This is before considering the incongruities that can come with signing to a label. This is one of the reasons why A’ron Easton is okay with taking his time building his music persona.

“Right now, people categorize me as just an R&B artist, but I make all genres of music,” Easton says.

“Pretty soon everything is going to come out, and people are going to say, ‘Now I understand what he’s been trying to get us to see.”

While this has the potential to make Easton a polarizing artist, as his output could be very unpredictable, he is in no way deterred by that prospect. In fact, he takes a lot of comfort in the freedoms associated with being an independent artist.

“I don’t just do R&B music. I don’t just have one sound,” says Easton. “Everyone tries to put me in that box, but I like to be able to create freely, whether that is country music, pop music, R&B, hip-hop. It’s just whatever I’m feeling.”

For now, that array of music is in the vault. But looking ahead, Easton feels confident that 2021 is when people are going to experience the diversity of his talent.

“In the past, I have spread my releases out,” says Easton. “Because that’s how the people around me operated. Now I have a new team, so we’re going to be a lot more consistent.”

While the variety in his music is only one of the ways that Easton hopes to increase his value as an artist, he has faith that it will provide greater leverage when the right time comes to sign with a label.

“When I have more songs and videos released, people are going to see my true value. I just don’t want to sell myself short,” Easton says.

I try to bring that energy to Indiana.

A’ R O N

EASTON

SUNGLASSES OFF WHITE SHIRT STYLIST’S OWN PANTS BILLIONAIRE BOYS CLUB SHOES ALEXANDER MCQUEEN As an artist, he has also invested time in his growth by traveling and working in cities outside of Indiana.

He hopes that the lessons he has learned from these trips will not only help him grow as an artist but allow him to share his experiences to help the scene grow too.

“In other cities, everyone comes out to support each other,” says Easton. “When there’s a studio session, and these artists are working in other cities, everyone is trying to make that song the best hit possible for the artist.”

“I try to bring that energy to Indiana,” Easton continues. “I try to bring creative minds together in [the studio] to make good music.”

Ultimately, while looking to play his part in raising Indiana’s profile as a place that produces top draw talent, Easton’s highest priority is being an artist.

“I am not trying to be a manager,” Easton says. “But I don’t mind putting someone else in the position that I am in — with the right people around them – so they can get to where they want to be. If I can do that much for somebody, then that’s good enough for me.”

And while he believes the support he exhibits for others is necessary to raising the status of the state’s music scene, it is through his music he really hopes to make a difference in people’s lives.

“I have had people hit me up, telling me that my music has helped them through tough times,” Easton says. “Those messages keep me pushing; knowing that I’m reaching people already.”

And with the plethora of music slated to release in the near future, the trajectory only looks positive at this juncture of his young career.

“I hope I can continue to reach and inspire people of all ages,” says Easton. “There are a lot of good things planned this year and I’m excited all the way around: with the team, with the music, and with the content coming. It’s just going to be fun.” ✂

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LASTAR JACKSON. SAINT AVENUE. FOR THE CULTURE. WORDS BY JACOB MORAN PHOTOGRAPHY BY VANESSA SOTO Hype is a funny thing. It can make you do things you normally wouldn’t. Agree with things you typically don’t. And most importantly it can make you buy things you don’t need or even on a subconscious level really want. The ‘hypebeast’ phenomena is ever present in cars, jewelry and makeup but none more so than in the streetwear industry. Streetwear has become less about the clothes more about the status.

However, if you sift through the litany of brands trying to capitalize on the hype and make a quick buck, you can find designers quietly building a successful brand not through endorsement deals with the newest influencer, but with hard work, sleepless nights and through trial and error.

LaStar Jackson of Saint Avenue is one such designer.

JACOB MORAN: I am always interested in what happens before a brand establishes itself. What can you tell me about the beginnings of Saint Avenue?

LASTAR JACKSON: Fashion has been my passion since I was a young kid. I even won Best Dressed in high school so I’ve always had a very strong interest in fashion.

Around 2014, when I was in college was when I really started to build a brand and dedicate myself to creating something of my own. At first, I really wanted to do some high fashion, luxury type shit, to try and compete with the likes of Louis Vuitton and Gucci. Little did I know how expensive that was going to be. It didn’t work out to do luxury so I pivoted and made it work with streetwear.

JM: Sounds like with fashion, one wrong move can set you back a great deal. Does that ever prohibit you from taking risks with your designs?

LJ: In the beginning, it was very discouraging. I would spend money on fabrics and graphics and then they would never see the light of day. However it’s just part of the game. All designers go through that. You are going to lose a lot of money on samples that just don’t work out. It’s costly and I tell people that a lot.

Especially if you want to do it at a certain level. But it’s just part of the process and you can’t let it stop you from trusting your instincts JM: I love the elegant simplicity of your spring drop. A lot of times brands can get too crazy with designs and forget about the quality of the item. Were simple, sleek looking designs on quality fabric your goal for this drop?

LJ: Man, I wish I had some sort of crazy ass story or inspiration behind this latest drop but to be completely honest, I don’t. I was in Atlanta for my birthday coming off the four-twenty drop and just thought about what I wanted to put out next. It just came to me and I ran with it. I wanted to show growth, and maturity. I wanted to expand and defy the expectations. Ultimately I wanted to bring that luxury feel to streetwear and elevate the brand.

JM: Being in the game for so long how do you feel about the entry point to doing streetwear being so accessible?

Is it hurting or helping the industry?

LS: In some ways, I feel like it is hurting. You’re absolutely right, the level of entry into streetwear is very low. Literally anyone can start a brand in their bedroom from scratch. There is a huge misconception that starting a clothing brand is a way to get rich quick, so people get into it without understanding what it takes, and without the respect for the process.

The lack of industry knowledge takes away from the established brands who have been grinding it out and are passionate about their designs.

JM: Can you tell which brands are in it for the money and which ones actually love fashion and the process?

LJ: Easily. Very easily. When you are someone who takes a tremendous amount of pride in your craft you are going to be able to spot the people who are trying to get a quick buck. Being able to see that helps me decide who I want to work with and give my time to.

JM: How calculated are you when it comes to your drops?

LS: It is always calculated. The way I move man is always calculated. I’m focused on longevity. One of my favorite designers is Ralph Lauren. So when I drop something I am always trying to make my stuff timeless like him. You can see someone wearing a Polo shirt from the 90’s and it’s still in fashion today. No one’s gonna look at that shirt and think ‘Oh, that shit old.’

His designs are literally timeless. So I always want to relate my drops to the times but I am more so focused on being timeless.

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JM: Between getting press in Complex, DJ Envy of The Breakfast Club wearing your hat and multiple drops, you’ve had a lot of success so far. Is there one achievement that stands out?

LJ: There have been many but seeing DJ Envy rock my shit has got to be at the top of the list. I was in New York and thought, I may as well pull up to the Breakfast Club and drop some designs off. I thought it was a long shot. I go back home and kick it with the same friend that told me to keep it moving in this streetwear game.

He kept telling me he knew they were gonna rock it on the show. I didn’t hold out much hope. My mindset was, if it happens it happens. Little while later I got a call from him and he tells me that DJ Envy was wearing one of the hats I gave them on the show. It was bananas, man. After that I knew it was a wrap. Saint Avenue was it.

JM: How much of your success is the product of consistency, hard work, determination and making the right decisions versus being in the right place, at the right time?

LJ: I love that first part. That gave me chills man, I love that. I used to think that hard work, consistency, determination were just a cliche because that is always coming from people who are already wildly successful.

But it’s the truth. And that “right place, right time” shit is cool, don’t get me wrong. I have been in those situations too. But success happens because you put in the work.

JM: What are your thoughts on the state of streetwear culture in Indianapolis?

LJ: I think it’s growing and good brands are doing dope shit here. But sometimes it feels like a race. Like a lot of brands here are just all racing to see who is going to pop off first instead of focusing on building a reputable brand, and not only build a reputable brand but strengthen the streetwear community so that we all can get further along and make this city a respectable place in terms of streetwear. We definitely need more community here.

JM: Do you think clothing makes the hype or does hype make the clothing?

LJ: Hype makes clothing. It is who you see in what, not what you see on who. Influencers can wear some wack ass shit and that piece will sell out. Look at Nicki Minaj.

She wore some pink Crocs and they sold out instantly.

No one was messing with Crocs. But they see someone with Nicki’s status and then go crazy for it.

JM: Do you find it hard to stay motivated in an industry when you know so much is driven by the ‘who?’ and not the ‘what?”?

LJ: It can get frustrating. But I’m in this game because of the love I have for fashion. I’m going to keep making the right decisions, put in hardwork and build my brand with a consistency that will last forever. ✂

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OP-ED

WHY SUPPORTING INDIANA’S FASHION INDUSTRY IS GOOD BUSINESS IT SEEMS LIKE EVERY BUSINESS LEADER, FUNDER AND POLITICIAN IS seeking programs and policies that innovate, retain talent, attract tourism, or engage youth. News flash: the fashion industry can create all of these pathways.

THE FASHION INDUSTRY IS ONE OF THE MOST UNDERRATED INDUSTRIES IN INDIANA. IT’S AN INDUSTRY that brings together diverse groups. And it’s the common thread that connects the retail and art industries.

SOME NUMBERS FOR YOU: ANNUALLY, THE ARTS SECTOR CONTRIBUTES $8.4 BILLION TO INDIANA’S economy. Indiana’s creative economy supports 160,000 jobs, 51% of which are self-employed individual creatives. The fashion industry also supports jobs in accounting, marketing, financing, trademark law, graphic design, and more.

THE FASHION INDUSTRY EXISTS PROUDLY IN INDIANA. BUT TO BE A VIABLE ECONOMIC DRIVER, THERE MUST be investments in it—and an understanding of it as part of art, entertainment and business.

THE LACK OF SUCH INVESTMENTS IS RESULTING IN BRAIN DRAIN. FOR EXAMPLE, INDIANA COLLEGES and universities with established degree programs have limited in-state resources to support the transition and placement of students into career opportunities after graduation (e.g., fellowships). If the creative economy is excluded from workforce and economic development planning, Indiana natives looking to establish successful careers in fashion will leave the state for more promising opportunities. From my observations over the last 20 years, creatives at times feel unsupported as they try to launch or sustain thriving careers in Indiana. It’s ironic, because Indiana actually is the perfect place to cultivate resources and opportunities in manufacturing, retail, and e-commerce.

POLITICAL, PHILANTHROPIC AND ACADEMIC SUPPORT OF THE FASHION INDUSTRY WILL POSITIVELY IMPACT the cultures and economies of Indiana communities by offering resources for creatives and students in entrepreneurship and business/financial management. In turn, these creatives can establish their enterprises and contribute to the community through product/service development, worker skill development, and job creation. This kind of active healthy creative economy also marks Indiana as a destination to live and visit.

LET’S NOT LET INDIANA’S RICH HISTORY IN FASHION STOP WITH THE FAMOUS FASHION DESIGNERS WHO once called Indiana home: Halston, Norman Norell, Stephen Sprouse, and Bill Blass. Let’s continue their legacy by supporting the creative economy. In doing so, we will highlight the fashion industry as a key economic driver for talent, businesses, universities, and tourism. And make sure the next generation of creative leaders keeps its mojo here in Indiana.

DENISHA ‘DLANG’ FERGUSON EXECUTIVE DIRECTOR, INDIANA FASHION FOUNDATION

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